Monday, January 26, 2015

When: Thursday, January 29 – Sunday, February 1, 2015Albuquerque, New MexicoWhat:Artists from around the world will converge in Albuquerque, New Mexico, to connect, exchange ideas, and find inspiration during the last weekend of the Tricklock Company Revolutions International Theatre Festival. The Symposium will feature performances, workshops, panel discussions, and gatherings. The focus of this year’s symposium will be The Ritual of Story on Stage featuring a series of roundtable discussions around storytelling: How has the way we tell stories in theatre evolved over the last 20 years? How are we telling stories of nation, culture, and identity in today’s world of post-industrial societies? What is the impact of our stories? We will explore traditional and non-traditional styles and ideas of process and theatre’s unique capacity to explore the unspeakable and unspoken. Along with these discussions and workshops will be the opportunity to see some of the most exciting world theatre happening today.Click HERE for the final program.----------*Program subject to change.For more information and a full schedule of symposium events, please contact symposium coordinator Elsa Menendez at elsa@tricklock.com

The Revolutions International Theatre Festival is co-sponsored by The University of New Mexico and The National Hispanic Cultural Center.

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About Theatre Without Borders----------Theatre Without Borders (TWB) is an informal, volunteer, virtual community that shares information and builds connections between individuals and institutions interested in international theatre exchange.History: TWB began its evolution in November 2003 when American theatre director Roberta Levitow returned to the U.S. from a Fulbright Senior Specialist residency at the Chinese University of Hong Kong. Following attendance at the Cairo International Festival for Experimental Theatre and theatre workshops in East Africa and Poland, she was searching for artists, theatres and organizations in the US that shared her interest in international exchange. Mission & Vision: TWB was born out of a need to connect artists around the world. TWB advocates for theatre artists who see themselves as members of a global community, as well as citizens of their respective nations and cultures. Seed & Grow: We plant seeds and watch the plants grow and develop, thanks to our many partners. We engage in projects where the enthusiasm, insight, knowledge, skill and commitment of TWB artists is leading to significant progress supporting international theatre exchange. About Tricklock Company and [The Revolutions International Theatre Festival----------Founded in 1993, Tricklock Company, based in Albuquerque, New Mexico, is a theatre ensemble whose mission is to create, tour, and produce theatrical work, and to foster international exchange and artistic development.Tricklock Company believes that theatre is a vital tool for examining the human experience and intrinsic to the evolution of world culture. Tricklock Company is the theatre-in-residence at The University of New Mexico, managers of the Tricklock Performance Laboratory in downtown Albuquerque, and the producers of The Revolutions International Theatre Festival.For three weeks every January, Tricklock produces The Revolutions International Theatre Festival. Hosting artists from around the globe, the festival includes performances, workshops, discussions, dinners, and community gatherings with a mission of connecting people through the art of theatre. Tricklock believes that the exposure to world theatre and culture increases mutual understanding, inspires communities, and empowers people to improve the overall quality of life for all people. The festival began in 2001 and has produced companies from Argentina, Ireland, Spain, England, Norway, Denmark, France, Germany, Poland, Czech Republic, Mexico, Italy, Israel, Thailand, Ukraine, Serbia, Russia, Armenia, Ivory Coast, South Africa, Canada, and the US.

About the play:
Cascarones takes place in San Antonio, Texas, as teenager Mary Margaret
Caceres, who works for the transit authority giving people bus route
directions, attempts to understand the mapping of her community and city. As
she navigates the daily challenges her working class family faces, she
encounters in a dreamlike state John Wesley Powell, Francisco Vásquez de
Coronado, and the other men whose actions in the past influence her present.

Please feel free to tweet your impressions of the play to hashtag #3030NP.

"The play centers on two Latinas: Fatima, a clairvoyant, uneducated hourly wage earner-turned- murderer, and on a successful, highly educated assistant district attorney, a single parent caring for her dying mother. From this unlikely pairing, Sánchez builds a story that examines class, racial and gender conflicts, family and professional relationships, friendship, heterosexual and homosexual love, self-realization, personal worth, and the ethics of euthanasia....” (Beverly Friend, LERNER)

“Since graduating from the Yale School of Drama in 1994, Edwin Sánchez has won more fellowships and foundation grants than most playwrights receive in a lifetime. Go see UNMERCIFUL GOOD FORTUNE and you will understand why.” (Virginia Gerst, PIONEER PRESS)

Edwin Sanchez Biography:Winner of the National Latino Playwriting Award for La Bella Familia, recent productions include Unmerciful Good Fortune and Trafficking in Broken Hearts, both in Los Angeles as well as the world premiere of the romantic comedy I'll Take Romance at the Evolution Theatre in Ohio. Other productions include: Diosa, produced by Hartford Stage after a successful workshop by New York Stage and Film, Trafficking in Broken Hearts at the Bank Street Theater in New York, Unmerciful Good Fortune at the Intar Theater in New York, for which he received the Princess Grace Playwriting Award in 1994, and Barefoot Boy with Shoes On at Primary Stages in New York. This play was selected by the Eugene O’Neill Playwrights Conference to represent the National Playwrights Conference at the Schelykovo Playwrights Seminar in Russia; Icarus produced by Fourth Unity, Actors Theater of Louisville as part of their Humana Festival, San Jose Rep and regionally throughout the U.S.; and Trafficking in Broken Hearts, Atlantic Theater in New York, and productions in Brazil and Switzerland. He was also among the playwrights involved with Brave New World, an organization commemorating the events surrounding September 11th. www.edwinsanchez-writer.com. Edwin is on the playwriting faculty at Primary Stages in New York City.

Hosted by NDI New Mexico at the Dance Barns

1140 Alto Street, Santa Fe

In Hebrew, HaMapah means “the tablecloth” or “the map." HaMapah/The Mapis conceived and performed Adam McKinney (formerly of Alvin Alley American Dance Theater) and directed by Daniel Banks. First premiered in 2010,HaMapah/The Map has engaged audiences around the world and, with the gracious partnership of New Mexico School for the Arts-Art Institute and National Dance Institute-New Mexico, DNAWORKS is thrilled to present the premiere of the work in its entirety to the Santa Fe community

HaMapah/The Map weaves contemporary dance with archival material, personal interviews, Yiddish and American songs, and video set to traditional, contemporary, and classical music. In HaMapah /The Map McKinney explores issues of identity, heritage, and ancestry. As part of the program, immediately following the performance, DNAWORKS Co-Directors McKinney and Banks lead a community dialogue about the audience's relationship to the core ideas of the piece.

Audience responses to performances of HaMapah/The Map

"It was a really beautiful piece last night! The dance and multi-media were just superb!"

"I was so moved by the performance and the follow up last night...this was so amazingly beautiful, creative, executed and magnificent that I am lost for words."

"I think that your work is about looking within, and connecting with our body-houses, so that we can appreciate our ancestry. You are creating a pathway for people to understand how to reconnect with themselves...you provide possibility to a richer experience of one's own life...Societies can be changed this way for the better."

Click here for other DNAWORKS programs, including film and dialogue workshops, Hip Hop Theatre, trainings and more!

An introductory workshop with DNAWORKS
co-directors Adam McKinney and Daniel Banks in the performance and community
building techniques they used to create HaMapah/The
Map (Sunday night opening performance).

Wednesday:

Say Word! (Part One): Talking About Hip Hop
Theatre

A multi-media, interactive introduction to Hip Hop Theatre with
Daniel Banks, editor of Say Word! Voices
from Hip Hop Theater and director of the Hip Hop Theatre Initiative. Open to all who want to learn about the form
or share their knowledge.

Thursday:

Say
Word! (Part Two): Storytelling and Performance in the Age of Hip-Hop

Wednesday, September 25, 2013

Iman Aoun, Director of Ashtar Theatre, Ramallah, Palestine, and CEC Artslink Fellow in Northern New Mexico will lead participants in Augusto Boal's Theatre of the Oppressed that is at the core of her work with women and youth in Palestine. Participants will learn exercises that they can use in their work to strengthen community leadership and self-expression in arts, education, and social justice settings.

"Theatre of the Oppressed aims at giving those who experience oppression the opportunity and freedom to talk, to cry and to give expression to the injustice they face. Theatre of the Oppressed is the cry of the oppressed against those who oppress and deny the humanity of others, caring only for themselves."

- Iman Aoun

When:

Saturday, November 2

and Sunday, November 3

10am-5pm

Where:

Saturday- New Mexico School of the Arts

275 E Alameda St, Santa Fe, NM 87501

Sunday- TBA

$15 registration fee. Priority will be given to participants that can attend both days. Please RSVP to Tamara Watkins at twatkins@nmcf.org including: Name, Phone Number, Mailing Address, Email, and a few sentences about what you hope to gain from the workshop and its relevance to you and/or your work.

If you need a registration waiver to be able to attend, please indicate that when you RSVP.

Aoun obtained a Bachelor Degree in Social Work and Sociology from Bethlehem University in 1987, a Diploma in Psychodrama in 1989, and a Diploma in Theatre Make-up in 1996. She worked with El-Hakawati Theatre Company from 1984-1991 and toured with it in various countries in the world participating in many international theatre festivals. Aoun co-founded Ashtar for Theatre Productions and Training, in 1991. She has directed numerous plays with students and community members as well as with theatre professionals, and has acted in plays, movies, and TV series. She won best actress award from The Cairo International Experimental Theatre Festival in 1996, for her acting role in Martyrs are Coming Backproduced by Ashtar Theatre. Aoun has participated in many International Theatre Conferences, most recently the 4th World Summit on Arts and Culture in South Africa. She has written and published a number of studies in various Arab and international theatre magazines on Palestinian Theatre. She is co-writer of three books on Theatre: From the Circle to Space published by Ashtar Theatre (2002), Community Culture Work and Globalizationpublished by the Rockefeller Foundation (2003) and Theatre of the Oppressed: A Window towards Change, alsopublished by Ashtar Theatre (2006). Aoun is a professional Joker specializing in Theatre of the Oppressed. She has conducted Forum Theatre workshops for theatre students at the American University in Cairo, The University of Iowa, CalArts, The TheatreEdu Institute in Greece, and in Yemen.

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About DNAWORKS

DNAWORKS is dedicated to futhering artistic expression and dialogue, focusing on issues of identity, culture, class, and heritage. We catalyze performance and action through the arts in the intersecting communities in which we live and work. In our work, art = ritual = healing = community. We believe that this philosophy and practice lead to a more peaceful world.